フジテレビ系ドラマ木10「医龍4~team 吉川慶

It scarcely feels necessary to mention the pre-eminent status of all four of these artists, because that is evident from hearing the music. When Nils Landgren brings such feeling to his own melody “Le chat sur le toit”, or when Michael Wollny dazzles with the blues-infused piano solo in “Lady Madonna”; when “Polygon” opens with a bass intro from Lars Danielsson, or when Wolfgang Haffner sets up the power groove to propel “4WD”, then it’s clear what’s happening: four leading figures in European jazz who know each other well and who have appreciated each other’s work for many years have now got together. True, their paths have crossed many times before, and in all kinds of configurations. The formidable duo of Landgren and Wollny comes to mind, for example, as does Haffner’s long-term role as an anchor in the Funk Unit, or Danielsson's vivid bass presence in Haffner's trio…but here for the very first time are the four friends as a quartet. They decided to record an album together at the Nilento Studio in Gothenburg: “4 Wheel Drive”.

Music Director Manfred Honeck and the Pittsburgh Symphony Orchestra, with Reference Recordings, are pleased to announce the release of a new recording in superb audiophile, pairing Tchaikovsky’s iconic Symphony No. 4 with the world premiere of leading American composer Jonathan Leshnoff’s Double Concerto for Clarinet and Bassoon, featuring the orchestra’s own Michael Rusinek, Principal Clarinet, and Nancy Goeres, Principal Bassoon. This HIGHRESAUDIO release was recorded in Heinz Hall for the Performing Arts, the acoustically outstanding and historic home of the orchestra.

Dan Laurin has made a name for himself as an intrepid musician who never hesitates to venture into uncharted territory, as testified by his numerous recordings of contemporary recorder works, as well as by his monumental achievement in recording the complete (10 hours!) 17th century Der Fluyten Lust-hof by Jacob van Eyck. As he now turns to one of the most recorded works in Western music, his approach is as fresh and original as ever. With the aid of the highly praised Polish ensemble Arte dei Suonatori, Laurin gives us Vivaldi’s humming insects, pounding summer rain and drunken village revels in a way we’ve never before heard them.

Barbara Thompsons twelve-saxophone ensemble plays ten original works. One can hear from the first track, Perpetual Motion how rich and colourful is her scoring, its density and contrapuntal cleverness going hand in hand. What is so refreshing about Thompsons writing for this large all-saxophone ensemble is its variety. As an eminent executant herself, she knows the instrument from the inside and can write for it, as Benny Carter did before her, with a technical assurance and very personalised and particular sound world that makes her writing so distinctive. To take just one more example, Bulletproof has a snazzy, cinematic drive both exciting and visceral and one that instantly compels attention. The ensemble includes some inspiring musicians - Rob Buckland and Andy Scott to the fore - and plays with terrific verve.

One of his last efforts with the Mizell production team was definitely not his most critically acclaimed, but Caricatures continued Byrd's commercial winning streak that started years previous with 1969's Kofi and such '70s Blue Note classics as Places and Spaces, Black Byrd, and Street Lady. His last release for the label was no exception to the formula set forth from the previously mentioned albums. ~ AllMusic

Stumpwork, the follow-up to 2021’s New Long Leg. The South London-based group’s first studio album, recorded in just two weeks with producer John Parish at the iconic Rockfield Studios, became a huge critical and commercial success reaching #4 in the UK Album Charts and featuring in best-of-2021 polls across the board. Buoyed by its success, Nick Buxton (drums), Tom Dowse (guitar), Lewis Maynard (bass) and Florence Shaw (vocals) returned to rural Wales in late 2021, partnering once more with Parish and engineer Joe Jones. Working from a position of trust in the same studio and with the same team, imposter syndrome and anxiety was replaced by a fresh freedom and openness to explore beyond an already rangy sonic palette, a newfound confidence in their creative vision. A longer period in the studio afforded the time to experiment, improvise, play, sharpen their table tennis skills.

This recording of orchestral works by Karol Szymanowski form part of the Polish Music series on Chandos, and is performed by the BBC Symphony Orchestra and Edward Gardner. These performers have impressed in their Lutosławski survey, which is part of the same series; in a review of volume 1, Gramophone described them as a veritable ‘dream team’.

In 1956 Jackie McLean was only beginning to assert himself as a true individualist on the alto saxophone, exploring the lime-flavored microtones of his instrument that purists or the misinformed perceived as being off-key or out of tune. 4, 5 and 6 presents McLean's quartet on half the date, and tunes with an expanded quintet, and one sextet track - thus the title. Mal Waldron, himself an unconventional pianist willing to explore different sizings and shadings of progressive jazz, is a wonderful complement for McLean's notions, with bassist Doug Watkins and drummer Art Taylor the impervious team everyone wanted for his rhythm section at the time. The quartet versions of "Sentimental Journey," "Why Was I Born?," and "When I Fall in Love" range from totally bluesy, to hard bop ribald, to pensive and hopeful, respectively…

Lee Konitz is a master of linear playing and a stylist on the highest level. The purity of Konitz intonation – that cool nobility which hasy been present in his playing since the 40s – is famous. Lee Konitz shows in this recording just how exquisite chords can sound even without chord instruments. But we have always known Lee to be one of the greatest spontaneous composers of Jazz. To play without chord instruments is absolutely no problem for a baritone saxophonist of Thomas Zoller’s calibre, it has had its own special fascination ever since the days of the Gerry Mulligan Quintet in the 50’s. Carlo Mombelli (South Africa) and Billy Elgart (USA) give a rhythm team that plays from funky to free with inspiring imagination. The result of this group’s unique partnership is a clear, transparent line. A revelry in counterpoint, modern grooves and sounds that ,sophistication.succeeds as seldom before, in a union of eloquence and fire.